After the bi-personal dialogue that has engaged Studio la Linea Verticale in this last month and a half with the exhibition "Terreno-Ultra-Terreno", where the direct and immediate confrontation between Navid Azimi Sajadi and Vettor Pisani unveiled the potentials of the ambiguity of language and human symbology, it is time to take the dialogue to a new level. From the "antihero" of Italian art, Vettor Pisani, to the "hero" of German art, Joseph Beuys. The upcoming exhibition, "Orizzonte-Sommo-Orizzonte", a bi-personal show featuring artists Giovanna Caimmi and Francesca Dondoglio, will indeed require a significant effort in setup. It has planned for one of the gallery rooms a site-specific intervention that will run along the four walls. We took the opportunity, given the long closure interval of the venue, to conclude the previous exhibition differently, reversing the variables at play and subjecting contemporary artist Navid Azimi Sajadi to a direct comparison with Joseph Beuys. In the current exhibition, we had decided to present Navid on the Bolognese soil with a now-famous series of works, "The Bridge," originally produced for the vast spaces of the MACRO in Rome. The dialogue with the antihero Vettor Pisani, an artist rightfully considered vertical and present in our research since the publication of the volume "L'Aldilà è un Angolo stretto. Oltre la Morte nell'arte contemporanea" Ed. Pendragon, was natural and immediate. The two not only nourish or have nourished a parallel interest in mythical-mystical symbology but have also shared a relationship of friendship, gestures, words, moments, enthusiasms, and disappointments that have undoubtedly enriched Navid, as well as likely warmed Vettor. At this point, a change of course, not necessarily of perspective, proved useful to present Sajadi's latest, newly born, production. Once again, he presents a orgy of images, drawings, figures, faces, symbols, tied to now-faded Christological as well as "monophysistic" memories, often polyhedral aspects of the same "solfa," yet highly useful for the growth of interiority. So, growth is the topic, and who has made it a mere banner of their research? Who, more than anyone else, has sought to instill in man an intuition that leads him to develop thought? It is clear, in the light of today's deciphered society, the difficulty of such an action. If one thinks that Beuys was concerned about the regressive development of contemporary man, about forty years after his death, we have almost lost all hope. In that "almost," our dialogue between Navid and the "mad hatter" inserts itself, in that desire to bring man back to developing thought, decoding a language, reasoning about reasoning, living according to nature, and thinking about death, one's own death, as the most intimate gesture of art.